On Monday, we learned that Tesla had suspended customer deliveries of its stainless steel-clad electric pickup truck. Now, the automaker has issued a recall for all the Cybertrucks in customer hands—nearly 4,000 of them—in order to fix a problem with the accelerator pedal. It has come at an inconvenient time for Tesla, which is laying off more than 10 percent of its workforce due to shrinking sales even as CEO Elon Musk asks for an extra $55.8 billion in compensation.
The problem, which affects all 3,878 Cybertrucks delivered so far, has to do with the EV’s accelerator pedal. Tesla has fitted this with a metal-finish cover to match the brushed metal appearance of the truck itself—no word on whether the pedals rust, too—but it says that at some point, “an unapproved change introduced lubricant (soap) to aid in the component assembly of the pad onto the accelerator pedal. Residual lubricant reduced the retention of the pad to the pedal.”
Thanks to the profile of the Cybertruck’s under dash, if the pedal cover becomes partially detached it can slide up and become trapped in place, wedging the pedal down and unleashing all of the Cybertruck’s substantial power—the dual-motor truck boasts 600 hp (447 kW) and can reach 60 mph (98 km/h) in just over four seconds.
This cover became partially detached from the accelerator pedal.
And then became stuck underneath some trim, jamming the accelerator on full.
Fortunately, applying the brake overrides the accelerator and cuts torque immediately, but that still didn’t prevent one owner from allegedly crashing into a light pole before he was able to bring his Cybertruck to a stop.
Tesla is no stranger to the National Highway Traffic Safety Administration’s official recall process, but this time there is no software fix or over-the-air patch. Instead, the trucks will need to be physically inspected and reworked if necessary. The company says that it will notify its stores and service centers about the recall “on or around” today, and that owners will be contacted in due course.
Netflix’s crackdown on password sharing helped the streaming service blow past Wall Street’s earnings forecasts, but its shares fell after it said it planned to stop regularly disclosing its subscriber numbers.
The company’s operating income surged 54 percent in the first quarter as it added 9.3 million subscribers worldwide, proving that the efforts to reduce password sharing it launched last year have had more lasting benefits than some investors expected.
However, Netflix said on Thursday that from next year it would stop revealing its total number of subscribers, a metric that has been a crucial benchmark for investors in the streaming era.
In its letter to shareholders, Netflix said it was shifting its focus to engagement—the amount of time its subscribers spend on the service—while also developing new price points and sources of revenue, including advertising.
“Each incremental member has a different business impact” with the new subscription plans, Greg Peters, co-chief executive, said in a call with investors. “And that means the historical simple math that we all did—the number of members times the monthly price—is increasingly less accurate in capturing the state of the business.”
He added that Netflix would “periodically update” on subscriber figures when it hits “major milestones.”
Paolo Pescatore, an analyst at PP Foresight, said Netflix’s decision to no longer disclose quarterly subscriptions starting in 2025 “will not go down well.”
“No matter the company’s attempt to switch focus from subscribers to financials, net [subscriber] adds is the key metric everyone wants to see,” he said.
The latest results showed there was still room for growth as a result of its password crackdown and push into advertising, Pescatore added. Netflix said memberships to its advertising-supported tier rose 65 percent from the previous quarter.
Before Thursday’s report the streaming pioneer’s shares had risen 30 percent this year, significantly outperforming the broader market. The shares fell 4.7 percent in after-hours trading following the earnings report.
Netflix executives said among their primary goals was improving the variety and quality of their entertainment, including television shows, movies, and games. It recently appointed Dan Lin as the new head of its film division.
“Even though we have made and we are making great films, we want to make them better,” said Ted Sarandos, co-chief executive. He added that he saw no need to spend more money on content.
Netflix has been pushing further into sports-related content, including a $5 billion deal to livestream World Wrestling Entertainment’s flagship Raw program in the US over the next decade.
It is also offering a livestream of a fight between Mike Tyson and Jake Paul in July, leading analysts to question whether the company plans to move further into live sport. “We’re not anti-sports, but pro-profitable growth,” Sarandos said.
Netflix reported earnings of $5.28 a share, well ahead of Wall Street forecasts of $4.51, while its number of subscribers rose 16 percent to 269 million from a year earlier.
Its revenue forecast for the current quarter of $9.49 billion was slightly below Wall Street forecasts of about $9.5 billion. But Netflix said it expected revenue to grow between 13 and 15 percent for the full year.
The company said it generated strong engagement in the first quarter from subscribers in the UK with Fool Me Once, which had 98 million views. Other standouts included the drama series Griselda with 66.4 million views and 3 Body Problem with about 40 million.
Enlarge/ A sample image from Microsoft for “VASA-1: Lifelike Audio-Driven Talking Faces Generated in Real Time.”
On Tuesday, Microsoft Research Asia unveiled VASA-1, an AI model that can create a synchronized animated video of a person talking or singing from a single photo and an existing audio track. In the future, it could power virtual avatars that render locally and don’t require video feeds—or allow anyone with similar tools to take a photo of a person found online and make them appear to say whatever they want.
“It paves the way for real-time engagements with lifelike avatars that emulate human conversational behaviors,” reads the abstract of the accompanying research paper titled, “VASA-1: Lifelike Audio-Driven Talking Faces Generated in Real Time.” It’s the work of Sicheng Xu, Guojun Chen, Yu-Xiao Guo, Jiaolong Yang, Chong Li, Zhenyu Zang, Yizhong Zhang, Xin Tong, and Baining Guo.
The VASA framework (short for “Visual Affective Skills Animator”) uses machine learning to analyze a static image along with a speech audio clip. It is then able to generate a realistic video with precise facial expressions, head movements, and lip-syncing to the audio. It does not clone or simulate voices (like other Microsoft research) but relies on an existing audio input that could be specially recorded or spoken for a particular purpose.
Microsoft claims the model significantly outperforms previous speech animation methods in terms of realism, expressiveness, and efficiency. To our eyes, it does seem like an improvement over single-image animating models that have come before.
AI research efforts to animate a single photo of a person or character extend back at least a few years, but more recently, researchers have been working on automatically synchronizing a generated video to an audio track. In February, an AI model called EMO: Emote Portrait Alive from Alibaba’s Institute for Intelligent Computing research group made waves with a similar approach to VASA-1 that can automatically sync an animated photo to a provided audio track (they call it “Audio2Video”).
Trained on YouTube clips
Microsoft Researchers trained VASA-1 on the VoxCeleb2 dataset created in 2018 by three researchers from the University of Oxford. That dataset contains “over 1 million utterances for 6,112 celebrities,” according to the VoxCeleb2 website, extracted from videos uploaded to YouTube. VASA-1 can reportedly generate videos of 512×512 pixel resolution at up to 40 frames per second with minimal latency, which means it could potentially be used for realtime applications like video conferencing.
To show off the model, Microsoft created a VASA-1 research page featuring many sample videos of the tool in action, including people singing and speaking in sync with pre-recorded audio tracks. They show how the model can be controlled to express different moods or change its eye gaze. The examples also include some more fanciful generations, such as Mona Lisa rapping to an audio track of Anne Hathaway performing a “Paparazzi” song on Conan O’Brien.
The researchers say that, for privacy reasons, each example photo on their page was AI-generated by StyleGAN2 or DALL-E 3 (aside from the Mona Lisa). But it’s obvious that the technique could equally apply to photos of real people as well, although it’s likely that it will work better if a person appears similar to a celebrity present in the training dataset. Still, the researchers say that deepfaking real humans is not their intention.
“We are exploring visual affective skill generation for virtual, interactive charactors [sic], NOT impersonating any person in the real world. This is only a research demonstration and there’s no product or API release plan,” reads the site.
While the Microsoft researchers tout potential positive applications like enhancing educational equity, improving accessibility, and providing therapeutic companionship, the technology could also easily be misused. For example, it could allow people to fake video chats, make real people appear to say things they never actually said (especially when paired with a cloned voice track), or allow harassment from a single social media photo.
Right now, the generated video still looks imperfect in some ways, but it could be fairly convincing for some people if they did not know to expect an AI-generated animation. The researchers say they are aware of this, which is why they are not openly releasing the code that powers the model.
“We are opposed to any behavior to create misleading or harmful contents of real persons, and are interested in applying our technique for advancing forgery detection,” write the researchers. “Currently, the videos generated by this method still contain identifiable artifacts, and the numerical analysis shows that there’s still a gap to achieve the authenticity of real videos.”
VASA-1 is only a research demonstration, but Microsoft is far from the only group developing similar technology. If the recent history of generative AI is any guide, it’s potentially only a matter of time before similar technology becomes open source and freely available—and they will very likely continue to improve in realism over time.
Enlarge / A young prodigal tomboy returns home from war and finds herself framed for murder in Renegade Nell.
Disney+
Award-winning British TV writer Sally Wainwright is best known for the dramatic series Happy Valley (2014–2023) and Gentleman Jack (2019–2022), the latter produced jointly by BBC and HBO. Wainwright partnered with Disney+ for her latest series, the resolutely PG-13 Renegade Nell, which is a different beast altogether: a good old-fashioned, swashbuckling comic adventure with a supernatural twist, featuring a sassy cross-dressing heroine forced to turn to highway robbery to survive.
(Some spoilers below, but no major reveals.)
Set in 1705 during the reign of Queen Anne (Jodi May, Gentleman Jack), the series stars Louisa Harland (Derry Girls) as Nell Jackson. Nell is a headstrong young woman with tomboy flair and a taste for adventure who returns home to her village of Tottenham after running off five years before to marry one Captain Jackson against her father’s wishes. She’s now widowed and possessed of occasional supernatural skills whenever someone threatens her, courtesy of a fairy sprite named Billy Blind (Nick Mohammed, aka Nathan from Ted Lasso), who has been tasked to protect Nell. Nell’s family thought she’d been killed on the battlefield alongside her husband, so her homecoming is a bit of a shock.
Alas, Nell soon runs afoul of one Thomas Blancheford (Jake Dunn), the louche, drunken offspring of the town’s landlord, Lord Blancheford (Pip Torrens, Preacher). Let’s just say things escalate, and Nell soon finds herself on the run and framed for murder, along with her two sisters, Roxy (Bo Bragason) and George (Florence Keen), and the Blanchefords’ former groomsman, Rasselas (Enyi Okoronkwo, The Lazarus Project). The group gets further assistance from a charming aristocratic dandy/secret highwayman named Charles Devereaux (Frank Dillane, The Essex Serpent).
Nell just wants to evade capture long enough to find an honest magistrate to clear her name. In the process, she finds herself battling the formidable black magic of the Earl of Poynton (Adrian Lester, Euphoria) and his acolyte, Thomas’ sister, Lady Sofia (Alice Kremelberg, The Sinner), and stumbles upon a sinister plot to dethrone the queen.
Louisa Harland stars as Nelly Jackson, who finds herself framed for murder.
Disney+
Nick Mohammed plays a sprite named Billy Blind, charged with protecting Nell.
Disney+
Charles Devereaux (Frank Dillane) is an impoverished aristocrat who does highway robberies on the side.
Disney+
Nell returns home to her family: father Sam Trotter and sisters George and Roxy.
Disney+
Thomas Blancheford (Jake Dunn) is a drunken louche who torments the villagers.
Disney+
The Earl of Poynton (Adrian Lester) dabbles in black magic and has sinister plans afoot.
Disney+
Lady Sofia Wilmot (Alice Kremelberg) chafes at the limitations imposed upon her by society.
Disney+
Nell and her sisters end up on the run.
Disney+
The Blanchefords’ former groom, Rasselas (Enyi Okoronkwo), helps the sisters.
Disney+
Rebellious young socialite Polly Honeycombe (Ashna Rabheru) is rather thrilled to be robbed by a dashing highwayman.
Disney+
The writing, pacing, and production values are top-notch, and the cast is terrific across the board. Lester brings a ruthless authority to Poynton’s spooky supernatural machinations, while Kremelberg is all seething bitter resentment and steely resolve as Lady Sofia, a brilliant, ambitious noblewoman (also widowed) who is far more qualified to run the family estate than her worthless brother, yet prohibited from inheriting by the laws of the time. Dillane’s Devereaux provides much of the witty repartee and comic relief, as does Joely Richardson’s (The Sandman) newspaper magnate, Lady Eularia Moggerhanger. And Ashna Rabheru (Red Rose) is delightful as a spoiled young aristocrat, Polly Honeycombe, with a lively romantic imagination who longs for something more in life than an arranged marriage.
But it’s Harland’s sensational portrayal of Nell that anchors it all. This is a role that requires her to be a tough rebellious tomboy in one scene and sport a posh accent and fancy dress in another; to balance action comedy with moments of genuine fear and heartbreaking tragedy. It’s also a highly physical role: Harland underwent several months of stunt training prior to filming. She does it all with refreshingly unpretentious aplomb.
Renegade Nell keeps the action flowing and wisely never takes itself too seriously. Sure, there is injustice, class warfare, and strong intelligent women chafing within the strict confines of traditional binary gender roles—and Polly Honeycombe definitely qualifies as bicurious. But Wainwright never lets the story get bogged down in heavy-handed symbolism or didacticism. Even Nell’s cross-dressing is handled with the lightest touch. Asked to comment on her character’s gender politics, Harland told the Guardian that there was no ulterior motive or agenda: “Why does she dress as a man? To pass as a man.” Simple as that.
Will we see more of feisty Nell and her delightfully eccentric compatriots? That’s up to Disney. There are plenty of questions left unanswered and definitely more stories to tell, both past and present. Series director Ben Taylor told Radio Times just after the premiere that a second season was currently being written and that it would likely involve some kind of time jump (given that some of the younger actors will visibly age), picking up with the various surviving characters from where they left off in the first season. But Disney has yet to confirm this. Here’s hoping this series finds the broader audience it so richly deserves. We’re rooting for you, Nelly… err, Nell.
A 28-year-old Delaware woman, Hadja Kone, was arrested after cops linked her to an international sextortion scheme targeting thousands of victims—mostly young men and including some minors, the US Department of Justice announced Friday.
Citing a recently unsealed indictment, the DOJ alleged that Kone and co-conspirators “operated an international, financially motivated sextortion and money laundering scheme in which the conspirators engaged in cyberstalking, interstate threats, money laundering, and wire fraud.”
Through the scheme, conspirators allegedly sought to extort about $6 million from “thousands of potential victims,” the DOJ said, and ultimately successfully extorted approximately $1.7 million.
Young men from the United States, Canada, and the United Kingdom fell for the scheme, the DOJ said. They were allegedly targeted by scammers posing as “young, attractive females online,” who initiated conversations by offering to send sexual photographs or video recordings, then invited victims to “web cam” or “live video chat” sessions.
“Unbeknownst to the victims, during the web cam/live video chats,” the DOJ said, the scammers would “surreptitiously” record the victims “as they exposed their genitals and/or engaged in sexual activity.” The scammers then threatened to publish the footage online or else share the footage with “the victims’ friends, family members, significant others, employers, and co-workers,” unless payments were sent, usually via Cash App or Apple Pay.
Much of these funds were allegedly transferred overseas to Kone’s accused co-conspirators, including 22-year-old Siaka Ouattara of the West African country the Ivory Coast. Ouattara was arrested by Ivorian authorities in February, the DOJ said.
“If convicted, Kone and Ouattara each face a maximum penalty of 20 years in prison for each conspiracy count and money laundering count, and a maximum penalty of 20 years in prison for each wire fraud count,” the DOJ said.
The FBI has said that it has been cracking down on sextortion after “a huge increase in the number of cases involving children and teens being threatened and coerced into sending explicit images online.” In 2024, the FBI announced a string of arrests, but none of the schemes so far have been as vast or far-reaching as the scheme that Kone allegedly helped operate.
In January, the FBI issued a warning about the “growing threat” to minors, warning parents that victims are “typically males between the ages of 14 to 17, but any child can become a victim.” Young victims are at risk of self-harm or suicide, the FBI said.
“From October 2021 to March 2023, the FBI and Homeland Security Investigations received over 13,000 reports of online financial sextortion of minors,” the FBI’s announcement said. “The sextortion involved at least 12,600 victims—primarily boys—and led to at least 20 suicides.”
For years, reports have shown that payment apps have been used in sextortion schemes with seemingly little intervention. When it comes to protecting minors, sextortion protections seem sparse, as neither Apple Pay nor Cash App appear to have any specific policies to combat the issue. However, both apps only allow minors over 13 to create accounts with authorized adult supervisors.
Apple and Cash App did not immediately respond to Ars’ request to comment.
Instagram, Snapchat add sextortion protections
Some social media platforms are responding to the spike in sextortion targeting minors.
Last year, Snapchat released a report finding that nearly two-thirds of more than 6,000 teens and young adults in six countries said that “they or their friends have been targeted in online ‘sextortion’ schemes” across many popular social media platforms. As a result of that report and prior research, Snapchat began allowing users to report sextortion specifically.
“Under the reporting menu for ‘Nudity or sexual content,’ a Snapchatter’s first option is to click, ‘They leaked/are threatening to leak my nudes,'” the report said.
Additionally, the DOJ’s announcement of Kone’s arrest came one day after Instagram confirmed that it was “testing new features to help protect young people from sextortion and intimate image abuse, and to make it more difficult for potential scammers and criminals to find and interact with teens.”
One feature will by default blur out sexual images shared over direct message, which Instagram said would protect minors from “scammers who may send nude images to trick people into sending their own images in return.” Instagram will also provide safety tips to anyone receiving a sexual image over DM, “encouraging them to report any threats to share their private images and reminding them that they can say no to anything that makes them feel uncomfortable.”
Perhaps more impactful, Instagram claimed that it was “developing technology to help identify where accounts may potentially be engaging in sextortion scams, based on a range of signals that could indicate sextortion behavior.” Having better signals helps Instagram to make it “harder for potential sextortion accounts to message or interact with people,” the platform said, by hiding those requests. Instagram also by default blocks adults from messaging users under 16 in some countries and under 18 in others.
Instagram said that other tech companies have also started “sharing more signals about sextortion accounts” through Lantern, a program that Meta helped to found with the Tech Coalition to prevent child sexual exploitation. Snapchat also participates in the cross-platform research.
According to the special agent in charge of the FBI’s Norfolk field office, Brian Dugan, “one of the best lines of defense to stopping a crime like this is to educate our most vulnerable on common warning signs, as well as empowering them to come forward if they are ever victimized.”
Both Instagram and Snapchat said they were also increasing sextortion resources available to educate young users.
“We know that sextortion is a risk teens and adults face across a range of platforms, and have developed tools and resources to help combat it,” Snap’s spokesperson told Ars. “We have extra safeguards for teens to protect against unwanted contact, and don’t offer public friend lists, which we know can be used to extort people. We also want to help young people learn the signs of this type of crime, and recently launched in-app resources to raise awareness of how to spot and report it.”
Federal prosecutors indicted a Nebraska man on charges he perpetrated a cryptojacking scheme that defrauded two cloud providers—one based in Seattle and the other in Redmond, Washington—out of $3.5 million.
The indictment, filed in US District Court for the Eastern District of New York and unsealed on Monday, charges Charles O. Parks III—45 of Omaha, Nebraska—with wire fraud, money laundering, and engaging in unlawful monetary transactions in connection with the scheme. Parks has yet to enter a plea and is scheduled to make an initial appearance in federal court in Omaha on Tuesday. Parks was arrested last Friday.
Prosecutors allege that Parks defrauded “two well-known providers of cloud computing services” of more than $3.5 million in computing resources to mine cryptocurrency. The indictment says the activity was in furtherance of a cryptojacking scheme, a term for crimes that generate digital coin through the acquisition of computing resources and electricity of others through fraud, hacking, or other illegal means.
Details laid out in the indictment underscore the failed economics involved in the mining of most cryptocurrencies. The $3.5 million of computing resources yielded roughly $1 million worth of cryptocurrency. In the process, massive amounts of energy were consumed.
Parks’ scheme allegedly used a variety of personal and business identities to register “numerous accounts” with the two cloud providers and in the process acquiring vast amounts of computing processing power and storage that he never paid for. Prosecutors said he tricked the providers into allotting him elevated levels of services and deferred billing accommodations and deflected the providers’ inquiries regarding questionable data usage in unpaid bills. He allegedly then used those resources to mine Ether, Litecoin, and Monero digital currencies.
The defendant then allegedly laundered the proceeds through cryptocurrency exchanges, an NFT marketplace, an online payment provider, and traditional bank accounts in an attempt to disguise the illegal scheme. Once proceeds had been converted to dollars, Parks allegedly bought a Mercedes-Benz, jewelry, first-class hotel and travel accommodations, and other luxury goods and services.
From January to August 2021, prosecutors allege, Parks created five accounts with the Seattle-based “on-demand cloud computing platform” using different names, email addresses, and corporate affiliations. He then allegedly “tricked and defrauded” employees of the platform into providing elevated levels of service, deferring billing payments, and failing to discover the activity.
During this time, Parks repeatedly requested that the provider “provide him access to powerful and expensive instances that included graphics processing units used for cryptocurrency mining and launched tens of thousands of these instances to mine cryptocurrency, employing mining software applications to facilitate the mining of tokens including ETH, LTC and XMR in various mining pools, and employing tools that allowed him to maximize cloud computing power and monitor which instances were actively mining on each mining pool,” prosecutors wrote in the indictment.
Within a day of having one account suspended for nonpayment and fraudulent activity, Parks allegedly used a new account with the provider. In all, Parks allegedly consumed more than $2.5 million of the Seattle-based provider’s services.
The prosecutors went on to allege that Parks used similar tactics to defraud the Redmond provider of more than $969,000 in cloud computing and related services.
Prosecutors didn’t say precisely how Parks was able to trick the providers into giving him elevated services, deferring unpaid payments, or failing to discover the allegedly fraudulent behavior. They also didn’t identify either of the cloud providers by name. Based on the details, however, they are almost certainly Amazon Web Services and Microsoft Azure. Representatives from both providers didn’t immediately return emails seeking confirmation.
If convicted on all charges, Parks faces as much as 30 years in prison.
Enlarge/ The smaller Pixel 9, with three cameras?!
Google has been doing a lot of work in Android to support satellite-based messaging, and it sure would be nice if someone actually shipped some hardware it could use. Despite the feature launching with the iPhone 14 in 2022, Android manufacturers haven’t been super receptive to copying the idea of satellite messaging. Qualcomm and satellite company Iridium built a working solution and incorporated it into Qualcomm’s Snapdragon chips, only for zero Android manufacturers to support the feature, leading to the dissolution of the partnership. If Google wants an Android satellite SMS phone to play with, it seems like it will need to build the device itself.
Reliable leaker Kamila Wojciechowska over at Android Authority says Google is working on doing just that. It looks like the Pixel 9 will be getting emergency satellite SOS. Since the Pixel 6, Pixel phones have been the rare devices that don’t use Qualcomm modems. Google partners with Samsung and bases its Pixel Tensor chips on Samsung Exynos chips, and that means using Samsung’s (usually much maligned) modems, too. Citing a source, Wojciechowska says the Pixel 9 would use the new Exynos Modem 5400, along with its optional NTN (non-terrestrial network) capabilities, allowing the phone to be “the first to support Android’s native satellite implementation.” The initial service provider would be T-Mobile (just like the good old days).
The move would make sense. The whole original point of the Nexus/Pixel line was to give Google something to build Android on. By incorporating the latest hardware features into the next Pixel, Android gets a target to program for and test on. Otherwise, we’d have a chicken-and-egg problem where no one makes the hardware because there’s no software support, and no one makes software because there’s no hardware to program for. Google just does it all at once.
As for who would be powering T-Mobile’s satellite network, the company has a high-profile partnership with SpaceX, but those are LTE towers in space and work on regular devices with no special software (the recent demo was on a regular set of iPhones). The whole point of Android’s satellite implementation is dealing with traditional satellite problems like aiming at a far-away satellite, compressing the message a ton to actually make it to the satellite, and dealing with an unreliable connection. That’s not really relevant to the SpaceX partnership since that is trying to be a next-generation solution of “regular LTE in space,” designed around the world’s largest rocket and satellite network.
We’re just speculating here, but a better target for a “current-generation” system would be Skylo, which resells service from traditional satellite companies like Viasat and Inmarsat, so it would need all that aiming and unreliable connection software. In a wild coincidence, Skylo already has a press release out saying it has certified the Samsung Exynos Modem 5400 for use on its network. Skylo already has a relationship with T-Mobile, and the company powered the Motorola Satellite Link hotspot.
Enlarge/ Texas Attorney General Ken Paxton speaks during the annual Conservative Political Action Conference (CPAC) meeting on February 23, 2024.
A judge has preliminarily blocked what Media Matters for America (MMFA) described as Texas Attorney General Ken Paxton’s attempt to “rifle through” confidential documents to prove that MMFA fraudulently manipulated X (formerly Twitter) data to ruin X’s advertising business, as Elon Musk has alleged.
After Musk accused MMFA of publishing reports that Musk claimed were designed to scare advertisers off X, Paxton promptly launched his own investigation into MMFA last November.
Suing MMFA over alleged violations of Texas’ Deceptive Trade Practices Act—which prohibits “disparaging the goods, services, or business of another by false or misleading representation of facts”—Paxton sought a wide range of MMFA documents through a civil investigative demand (CID). Filing a motion to block the CID, MMFA told the court that the CID had violated the media organization’s First Amendment rights, providing evidence that Paxton’s investigation and CID had chilled MMFA speech.
Paxton had requested Media Matters’ financial records—including “direct and indirect sources of funding for all Media Matters operations involving X research or publications”—as well as “internal and external communications” on “Musk’s purchase of X” and X’s current CEO Linda Yaccarino. He also asked for all of Media Matters’ communications with X representatives and X advertisers.
But perhaps most invasive, Paxton wanted to see all the communications about Media Matters’ X reporting that triggered the lawsuits, which, as US District Judge Amit Mehta wrote in an opinion published Friday, was a compelled disclosure that “poses a serious threat to the vitality of the newsgathering process.”
Mehta was concerned that MMFA showed that “Media Matters’ editorial leaders have pared back reporting and publishing, particularly on any topics that could be perceived as relating to the Paxton investigation”—including two follow-ups on its X reporting. Because of Paxton’s alleged First Amendment retaliation, MMFA said it did not publish “two pieces concerning X’s placement of advertising alongside antisemitic, pro-Nazi accounts”—”not out of legitimate concerns about fairness or accuracy,” but “out of fear of harassment, threats, and retaliation.”
According to Mehta’s order, Paxton did not contest that Texas’ lawsuit had chilled MMFA’s speech. Further, Paxton had given at least one podcast interview where he called upon other state attorneys general to join him in investigating MMFA.
Because Paxton “projected himself across state lines and asserted a pseudo-national executive authority,” Mehta wrote and repeatedly described MMFA as a “radical anti-free speech” or “radical left-wing organization,” the court had seen sufficient “evidence of retaliatory intent.”
“Notably,” Mehta wrote, Paxton remained “silent” and never “submitted a sworn declaration that explains his reasons for opening the investigation.”
In his press release, Paxton justified the investigation by saying, “We are examining the issue closely to ensure that the public has not been deceived by the schemes of radical left-wing organizations who would like nothing more than to limit freedom by reducing participation in the public square.”
Ultimately, Mehta granted MMFA’s request for a preliminary injunction to block Paxton’s CID because the judge found that the investigation and the CID have caused MMFA “to self-censor when making research and publication decisions, adversely affected the relationships between editors and reporters, and restricted communications with sources and journalists.”
“Only injunctive relief will ‘prevent the [ongoing] deprivation of free speech rights,'” Mehta’s opinion said, deeming MMFA’s reporting as “core First Amendment activities.”
Mehta’s order also banned Paxton from taking any steps to further his investigation until the lawsuit is decided.
In a statement Friday, MMFA President and CEO Angelo Carusone celebrated the win as not just against Paxton but also against Musk.
“Elon Musk encouraged Republican state attorneys general to use their power to harass their critics and stifle reporting about X,” Carusone said. “Ken Paxton was one of those AGs that took up the call and he was defeated. Today’s decision is a victory for free speech.”
Paxton has not yet responded to the preliminary injunction and his office did not respond to Ars’ request to comment..
Media Matters’ lawyer, Aria C. Branch, a partner at Elias Law Group, told Ars that “while Attorney General Paxton’s office has not yet responded to Friday’s ruling, the preliminary injunction should certainly put an end to these kind of lawless, politically motivated attempts to muzzle the press.”
From ‘80s new wave to ‘90s grunge to the latest pop single, music has changed a lot over the decades. Those changes have come not only in terms of sound, though; lyrics have also evolved as time has passed.
So what has changed about the lyrics we can’t get out of our heads? After analyzing 12,000 English-language pop, rock, rap, R&B, and country songs released between 1970 and 2020, researcher Eva Zangerle of Innsbruck University and her team have found that lyrics have been getting simpler and more repetitive over time. This trend is especially evident in rap and rock, but it applies to other genres as well. Another thing Zangerle’s team discovered is that lyrics tend to be more personal and emotionally charged now than they were over 50 years ago.
Know the words…
“Just as literature can be considered a portrayal of society, lyrics also provide a reflection of a society’s shifting norms, emotions, and values over time,” the researchers wrote in a study recently published in Scientific Reports.
That’s why Zangerle created a dataset to find out the different ways in which lyrics have changed. She and her colleagues used the virtual music encyclopedia Genius, which also provides release year and genre information. From the lyric dataset she created, the team pulled data having to do with the structure, language, emotion, and complexity of songs. Five genres—pop, rock, rap, R&B, and country—were chosen because they are genres with the most lyrics that were popular on streaming platform last.fm.
There were two types of analyses done on the music. The first looked for the lyrical trends that were most prevalent for each release year, while the second went deeper into online views of lyrics, characteristics of lyrics (such as emotion), and release year. The researchers obtained the play count from last.fm and the lyrics view count from Genius.
How often people view the lyrics is unexpectedly important. Unlike play counts of songs, this stat shows how important lyrics are despite the popularity (or lack thereof) of the song or genre.
…and the meaning
What can lyrics tell us about different genres and eras? Results for the first analysis showed that certain characteristics are most important across genres, including repeated lines, choruses, and emotional language. The genres in which emotion was most important were country and R&B.
Repeated lines increased over the decades in all genres analyzed, and later lyrics contain more choruses than earlier ones. These increases are further proof that songs have become simpler and more repetitive since the ‘70s.
Lyrics were also more personal and angrier across all genres studied. Personal lyrics were identified by the number of personal pronouns, which especially increased in rap and pop, while rock and R&B saw moderate increases and country stayed nearly the same. Anger and other negative emotions (as expressed through words associated with these emotions) also increased across genres. Rap had the highest increase here, especially in anger, while country showed the lowest increase. Positive emotions decreased in pop and rock, while they increased somewhat in rap.
When looking at the results from the second analysis, Zangerle noticed that lyric views were higher for older rock songs than newer ones, and vice versa for country, which had lower view counts for older songs and higher view counts for new songs. This means that the popularity of country lyrics has increased over time in comparison to rock. Listening count had no relationship to this, meaning interest in the sound of a song was not related to interest in its lyrics.
Through the decades, it seems that music has gotten simpler, more repetitive, and more emotional—especially angrier—and more personal. The study didn’t look into what events and societal changes might have influenced this trend, but the researchers still had some sociological insights. They think pop is all about record sales and what’s hot from one moment to the next, while the preference for older rock songs shows that the main audience of rock is middle-class and against commercialism. Emotionally charged words could also convey feelings toward shifts in society.
The researchers “believe that the role of lyrics has been understudied and that our results can be used to further study and monitor cultural artifacts and shifts in society,” the study said.
Enlarge/ Photos of iGBA that appeared on the App Store before the app was taken down.
Over the weekend, developer Mattia La Spina launched iGBA as one of the first retro game emulators legitimately available on the iOS App Store following Apple’s rules change regarding such emulators earlier this month. As of Monday morning, though, iGBA has been pulled from the App Store following controversy over the unauthorized reuse of source code from a different emulator project.
Shortly after iGBA’s launch, some people on social media began noticing that the project appeared to be based on the code for GBA4iOS, a nearly decade-old emulator that developer Riley Testut and a partner developed as high-schoolers (and distributed via a temporary security hole in the iOS App Store). Testut took to social media Sunday morning to call iGBA a “knock-off” of GBA4iOS. “I did not give anyone permission to do this, yet it’s now sitting at the top of the charts (despite being filled with ads + tracking),” he wrote.
GBA4iOS is an open source program released under the GNU GPLv2 license, with licensing terms that let anyone “use, modify, and distribute my original code for this project without fear of legal consequences.” But those expansive licensing terms only apply “unless you plan to submit your app to Apple’s App Store, in which case written permission from me is explicitly required.”
Images from the original, circa 2014 version of GBA4iOS.
“To be clear, I’m not pissed at the developer [of iGBA],” Testut added on social media. “I’m pissed that Apple took the time to change the App Store rules to allow emulators and then approved a knock-off of my own app.”
Hurry up and wait
MacRumors reports that Apple cited two sections of its App Store guidelines in removing iGBA: one related to spam (Section 4.3) and one related to copyright (section 5.2). Right now, it’s a bit ambiguous whether the copyright violation refers to the copyright on the emulator source code itself or the emulator’s ability to easily play copyrighted games from Nintendo and others.
As we discussed earlier this month, the wording of Apple’s recent App Store guidelines update makes it unclear if developers can release general-purpose emulators with the ability to play ROMs they don’t control the rights to. Aside from iGBA, a Commodore 64 emulator named Emu64 XL and built off of the open source VICE project was recently launched on the iOS App Store.
Apple has yet to respond to a request for comment from Ars Technica. But Testut wrote early Monday morning that “to Apple’s credit, though, once they were aware of the issue, they did take it seriously. So I really don’t believe this was malicious at all — just an unfortunate situation for everyone involved.” Testut added that iGBA maker La Spina “reached out to me via email to personally apologize for the mess. So no hard feelings there.”
But Testut did have some hard feelings regarding Apple’s treatment of AltStore, an alternative marketplace for sideloading iOS apps that he’s trying to launch under the EU’s new regulations. That would provide Testut with a legitimate way to distribute Delta, a “sequel” to GBA4iOS that emulates many classic Nintendo consoles on Apple devices.
“My frustration stemmed entirely from the fact we’ve been ready to launch Delta since last month,” Tetstut wrote on social media. “This whole situation could’ve been avoided if Apple hadn’t delayed approving us until after changing their rules to allow emulators.”
Times are starting to get tough for Tesla. The electric vehicle automaker had been riding high, with quarter after quarter of successive growth and plenty of profits in the process. But lately, that success has mostly been due to a series of price cuts meant to tempt customers to buy into an aging lineup. This March, the company reported its first quarterly decline since 2020.
“As we prepare the company for our next phase of growth, it is extremely important to look at every aspect of the company for cost reductions and increasing productivity,” Tesla CEO Elon Musk told employees in the memo.
Musk has pursued a strategy of relentless cost-cutting, but all those price cuts have meant Tesla’s once-envied profit margins are now nothing special.
“As part of this effort, we have done a thorough review of the organization and made the difficult decision to reduce our headcount by more than 10 [percent] globally. There is nothing I hate more, but it must be done. This will enable us to be lean, innovative, and hungry for the next growth phase,” Musk wrote.
Tesla’s limited aging product portfolio is starting to become a problem in the face of stiff competition in China. Its newest vehicle is the Cybertruck, a large and controversial pickup with limited appeal outside of North America’s wide roads and parking spaces. And plans for a cheap two-seat Model 2 have been axed in favor of a robotaxi.
Enlarge/ The Cybertruck remains a divisive vehicle.
Jonathan Gitlin
Tesla’s troubled Cybertruck appears to have hit yet another speed bump. Over the weekend, dozens of waiting customers reported that their impending deliveries had been canceled due to “an unexpected delay regarding the preparation of your vehicle.”
Tesla has not announced an official stop sale or recall, and as of now, the reason for the suspended deliveries is unknown. But it’s possible the electric pickup truck has a problem with its accelerator.
Tesla has been accused of making cars that have sudden unintended acceleration problems. In 2017, the company was the subject of a class-action lawsuit based on at least 23 accounts of Tesla Models S and X suffering from this problem. Tesla vehemently denied any such problem, and in 2020, the National Highway Traffic Safety Administration declined to investigate.
But in 2023, a safety researcher in Minnesota published a white paper with a potential mechanism, showing how a voltage spike in Tesla’s inverter could cause a car to experience an acceleration event. That same year, a leaked trove of Tesla documents to the German publication Handelsblatt included more than 2,400 customer complaints alleging sudden unintended brake problems. By July 2023, NHTSA decided it was time to investigate the problem.
This time, the potential culprit might be a lot easier to identify than a defective inverter experiencing a random voltage spike.
Yesterday, a Cybertruck owner on TikTok posted a video showing how the metal cover of his accelerator pedal allegedly worked itself partially loose and became jammed underneath part of the dash. The driver was able to stop the car with the brakes and put it in park. At the beginning of the month, another Cybertruck owner claimed to have crashed into a light pole due to an unintended acceleration problem.
This cover became partially detached from the accelerator pedal.
And then became stuck underneath some trim, jamming the accelerator on full.
The accelerator pedal without the metal cover.
Lending this theory credence, Whole Mars Blog, a social media account with close links to the automaker, stated on Saturday that “Tesla has stopped all Cybertruck deliveries for 7 days due to an issue with the accelerator pedal.”
